Херсонес-Херсон: две истории одного города. Имена, места и даты в исторической памяти полиса
In the present article two eleventh-century phrases inscribed many times on the walls of the St Sophia Cathedral in Novgorod (коуни рони and парехъ мари) are shown to be of Semitic provenance. The authors provide the linguistic arguments which support the claim of a Hebrew source for коуни рони and a Syriac one for парехъ мари. In addition, we offer a reconstruction of the historical pragmatic context in which the phrases can be situated. It is proposed that the коуни рони inscriptions can be connected with the seizure of Novgorod and the plundering of St Sophia by Vseslav of Polotsk in the year 1066. They should be regarded as the oldest tangible proof of contacts with Jews and Hebrew in Rus’. In the case of the парехъ мари inscriptions, the hypothesis is put forward that the author was a certain Efrem, a local citizen, possibly a clergyman, who was a Syrian by descent.
The Church of Ethiopia did observe both the Old Testament or the Jewish Sabbath and its Christian counterpart. This practice became one of the distinctive features of the Ethiopian Christianity. In various periods of its history the problem of veneration of the Jewish Sabbath provoked a lasting controversy among the country’s clergy. It was under the reign of the King Zär’a Ya‘ǝqob, in the mid-15th century AD, that the observance of both Sabbaths became the officially accepted by the Ethiopian Church and the State. However, some evidences of this custom can be traced for many centuries before. Following the confession of faith of the King Claudius (1540–1559), the priority was given to the celebration of Sunday. The author of the article was fortunate to discover several cases of the preferential veneration of Sunday during a military campaign of AD 1781, described in the chronicle of the King Täklä Giyorgis I.
The article is devoted to a previously unknown translator, Vassily Grinkov (the middle of the XVIII century). His translation, made from German in 1745, of Lodovico Guicciardini’s compilation, is not widely known, but the circumstances of its appearance and the reconstruction of the environment in which it appears are extremely important to understand the mechanisms of European culture reception in Russia.